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Random Review

I’ve found myself becoming incredibly picky. I started composing this post quite a few weeks ago but didn’t complete it because I didn’t have enough first lines to make it worthwhile – there were many I could choose from within the limits I set myself for this series (books that are currently in my reading life whether already read and being looked at again, in progress, or recently finished) but none struck a chord. Sometimes it was because working out exactly what the first line was could be tricky, with books sporting those sort of prologue pages that might not actually be prologue pages, and others that just didn’t intrigue in any way. Usually this sort of pickiness takes a while – my thoughts on referencing… eight years late – but in this case it’s only taken 5 posts. I suppose I’m getting used to thinking about what I want to do earlier rather than later.

Looking at what I’ve got below, I’ve noticed it’s full of doom, gloom, and hospitals, so I apologise if you’re reading this when you’ve a spring in your step. My reading hasn’t been all angst, I guess it’s just that the books that include it think more about their first lines. There may be something in that.

A Place Called Winter by Patrick Gale

The attendants came for him as a pair, as always.

He’s been there a long time, and he’s a big problem if two people are needed. We can estimate length of time but the amount of difficulty he’s causing really depends on what this is about. If historical there are a few possibilities – a simple thing of two people arriving; they may need to lift him head and foot; he may be causing them a lot of issues whether truly or in that depraved asylum fashion. If contemporary, it’s most likely to be a necessary thing but hopefully practiced with the comfort of the patient in mind in the context of a much better idea of what he is suffering from. It could be a hospital or a prison, a care home or in-home care, perhaps. Of course the cover gives you a hint as to what time we’re talking about, but on its own the line could be set in any time.

Bitter Orange by Claire Fuller

They must think I don’t have long left, because today they allow the vicar in.

Surprising open, everything is set up, and there’s something quite literary about the way this is a short sentence – the end is possibly near, and so there is little to say on that exact front. Looking at ‘they’, either ‘they’ are wrong and this will be a story in which the narrator gets better, or we’re going to be looking at the past.

The Theatre Of Dreams by Rosie Travers

I met the man who orchestrated my downfall in a Soho nightclub.

The use of alliteration, and ‘orchestrated’ when another might use a different word – the start of this story, if not the whole, is going to have quite a lot of drama in it and not necessarily anything involving acting. The use of ‘Soho’ alone, without ‘nightclub’, sets the scene: a downfall – which may well have happened in London if the narrator is there to go clubbing – and the likelihood of their residence there, points to the title – fame.

The Bell Jar by Sylvia Plath

It was a queer, sultry summer, the summer they electrocuted the Rosenbergs, and I didn’t know what I was doing in New York.

I love this line. I completely looked it over when I first read it, because nothing particularly jumps out at you during a regular read unless the Rosenbergs are a new story to you. But this line is absolutely perfect – everything is provided. You’ve got the season, mood, exact time and year, place, and even the state of mind, shown by what she chooses to focus on. You’ve also got repetition there to draw the reader to the sunny days, and the use of ‘queer’ (as a synonym for ‘odd’), and the way Plath chooses to highlight an electrocution, says straight away that the book may be a strange and/or difficult one. Of course difficult is what The Bell Jar is, but Plath’s bluntness, warning, lets you know straight away what you need to know if you’re just flicking through books and looking for something to read – unlike many books that take a while to show what they are about, Plath’s is immediate. And you’ve got to be thankful for that – her tale is morbid, dark, but she’s giving you an out if you wish to take it.

Whistle In The Dark by Emma Healey

‘This has been the worst week of my life,’ Jen said.

Interesting is the chapter heading, ‘the end’ – are we going to be reading the book back to front? And with this first line Healey shows us we’re going to look into the near past, and something that has been bad or gone wrong. Whether or not ‘of my life’ is dramatising things is something we don’t yet know, and we don’t yet know. We also don’t know how old the person is and thus whether or not it is indeed likely to be dramatic or not.

Missing Pieces by Laura Pearson

The coffin was too small.

This is rather like the flash fiction piece, “For sale: baby shoes, never worn.”1 – Pearson sets a very similar scene. Though what is left out that the famous fiction piece included is a reference to time; we don’t yet know how long the child lived for, and thus we don’t know how much, if any, pages moving forward will include references to a life lived. The title of this book and certainly the cover give an idea as to what the book is about, but if you were in any doubt, there’s the first line.

Reading these through again I think there’s definitely something to be said about darker books more often (potentially more often?) having strong first lines. I suppose that when you’re writing about a difficult subject in long form and wanting to get details across to the reader, it’s second nature to start as you mean to go on.

Then there is the fact that sometimes it takes a few lines for the stage to be set, and often these are short sentences where you look at a first line like Christina Stead’s – ‘One hot night last spring, after waiting fruitlessly for a call from my then lover, with whom I had quarreled the same afternoon, and finding one of my black moods on me, I flung out of my lonely room on the ninth floor (unlucky number) in a hotel in lower Fifth Avenue and rushed into the streets of the Village, feeling bad.’ – and wonder if they couldn’t have just created a long sentence, no matter how old-fashioned they seem to now be considered. But then of course short sentences have merits of their own.

With The Bell Jar soon to be behind me I’m thinking again of the idea of close reading ending lines. I think I’d want to retrace my steps and include the books that I’d used in these first lines posts. I’ll have to ponder that undertaking for a bit!

Footnotes

1 I was intrigued to discover that this six-word story is commonly attributed to Ernest Hemingway, although there is no hard evidence to suggest it was his. O’Toole (2013) says, ‘a literary agent named Peter Miller stated that he was told the anecdote about Hemingway and baby shoes by a “well-established newspaper syndicator” circa 1974.’ He quotes Miller’s book: ‘Apparently, Ernest Hemingway was lunching at Luchow’s with a number of writers and claimed that he could write a short story that was only six words long. Of course, the other writers balked. Hemingway told each of them to put ten dollars in the middle of the table; if he was wrong, he said, he’d match it. If he was right, he would keep the entire pot. He quickly wrote six words down on a napkin and passed it around; Papa won the bet. The words were “FOR SALE, BABY SHOES, NEVER WORN.” A beginning, a middle and an end!’ (Miller 1991, p.27, cited in O’Toole 2013)

But O’Toole also cites other variations on the tale, other potential writers. Miller’s anecdote is unsubstantiated. (I think it’s also worth noting that the time scale between Hemingway’s supposed claim and his completing it, sounds incredibly far-fetched unless he had already prepared the story in advance. This surely suggests he’d seen the story elsewhere.) His article, linked to below, is worth a read.